本文從臺灣女性主義藝術實踐歷史地景出發，以生態女性主義觀點，聚焦蕭麗虹及其創設之竹圍工作室，於解嚴後社會力百家爭鳴時刻，以女性主義藝術視角與實作，藉由社會參與式藝術取徑，關切社會與生態環境議題，打造以連結為核心之藝術網絡與實踐。

立基生態女性主義將性別社會關係、人與自然關係並置思考，蕭麗虹與竹圍工作室藉由藝術實踐「打開空間」，為竹圍工作室對臺灣社會珍貴貢獻與資產：設置藝術村，打開河岸空間，讓國內外藝術家創作交流；打開藝術與環境對話空間；更是打開藝術實踐社會轉向，支持與傳達藝術的批判與反身性空間。

This study traces the historical landscape of Taiwan’s feminist art practice and, from an eco-feminism perspective, examines the work of artist Margaret Shiu Tan (蕭麗虹) and her Bamboo Curtain Studio. It explores how feminist art, through socially engaged practices, addresses ecological and environmental concerns while fostering a network of artistic connections centered on collaboration.

It can be argued that, based on feminism’s respect for differences and the value of multiple subjectivities, “creating space” is the Bamboo Curtain Studio’s most valuable contribution and asset to Taiwanese society. By opening the riverside space, the Studio enables artists to share and exchange ideas, fostering dialogue between art and the environment. Moreover, making space for the social turn in artistic practice supports and conveys the criticality and reflexivity of art.